Vee

Who cares? It's not like these shows are worth keeping on in their current state.

It would amuse me if Locher really did cut the feed if Sarah started in on Moonves. But I doubt he'll let her get to that.

He was on tour. It sounds like it was just a heart attack.

It sounds like it's not a full reboot, since Whoopi will be reprising her role as HW Rose Schwartz. That's nice to hear and actually makes me interested.

Richard Burgi is amazingly talented, has done a ton of primetime and film and it astounds me how two(?) modern soaps have gotten ahold of him but both squandered him.

His what now?

Jesus, what a week.

Alan Locher is sure to be eager to discuss Sarah's blackballing by ATWT's parent network CBS. Only a deeply irrational person or a clueless and vapid functionary would seek to preserve the honor of a very publicly scandal-ridden host company for a soap opera that has been off the air and defunct for over ten years!

It is, yes. But the social change is ready, and the shows would find a more blended audience with what they lost on new platforms like streaming. The networks and shows don't care because they don't care about evolving the genre or their shows; they just want to keep them onscreen marking time for as long as possible. Y&R especially is coasting on past acclaim, it's a dead cell. The only show vaguely attempting to do more for the future is DAYS, and they're not exactly delivering great quality.

That's a really unique idea. I'm curious why the women are the ideal counterbalance though.

Gay story and Black story on soaps is still few and far between today, because outside of DAYS they don't cater to the more coastal online contingent much; they cater to red state demographics.

They would never have executed Luke and Laura the same way today. Going for the rape twist at all and the way they bumbled around it with romantic foibles, jealousy, a lot of discussion among the two of them, etc. for over a year afterwards would never have happened. You also couldn't get away with E.J. raping Sami at gunpoint in the passenger seat of a car on the side of a road and then having them become a supercouple today, and that was maybe 15 years ago.

What was the point of him marrying Victoria? What is the story?

It'll be a pretty big deal. I also think they should take 'em all out.

It's organic conflict, which is something GH so often seems allergic to, especially with longtime couples.

And upon revisiting (I have close family who were very involved in early computer security, who saw it with me and came out of that '60s computer culture depicted with Redford and Kingsley in the film), way too prescient for today. But Poitier gave it such dignity and gravitas - despite such a stacked cast, as a kid I'd never seen anyone like him. (I'd grown up with The Cosby Show, but Poitier was a much more serious presence than Cosby.)

Oh my God.

For me the only song that matters on 90210 is the summer season episodes with Kelly and Dylan where they plastered both the episode and the promos for that storyline wall to wall with Sophie B. Hawkins' "Damn (I Wish I Was Your Lover)". I never forgot that.

Sidney Poitier! What a legend. One after another. I first became aware of him in Sneakers, of all things, but his performance in Raisin in the Sun is one of the most electrifying things I've ever seen.

And dead Sonny for most of 2021. It's ridiculous.

Was I? I don't remember. I know @DRW50saw it recently and enjoyed it. Bogdanovich's career as a critic, rediscovering classic Hollywood filmmakers and actors and re-conceptualizing them, often in the brilliant and extensive series of interview books he did with both stars and filmmakers, did so much for the backbone of modern criticism as we know it today. And that's before we even get to his own amazing career as a director. The Last Picture Show is a masterpiece; What's Up Doc? is one of the greatest screwball comedies of all time. At Long Last Love, reviled upon release, is IMO a demented piece of musical genius. The director's cut of Texasville is a languid, witty and very human portrait of a rich characters' world. Film geeks love to jab at Bogdanovich for his ego and inflated sense of self-importance, but I don't think they've ever (at least in my lifetime) forgotten his true value as a historian, an interviewer, a critic and yes, a director. If people have never read his interview books I hope they'll seek them out. The work he left us in print and onscreen is immeasurable; his wealth of memory and personal experience and stories, starting with his long and complex friendship with Orson Welles and going down the line, is eternal. And here: https://www.vulture.com/2022/01/peter-bogdanovich-in-conversation.html

Oh goddamnit.